A B C D E F G H I J K L M N O P R S T V W Y Z
Seiji Adachi (wind instruments, singing voice, CFD simulation)
Joaquim Agullo (woodwinds, time domain models) e-mail
Noam Amir (physical modeling) e-mail
Christophe d'Alessandro (singing voice, intonation perception, signal processing, pipe organ, clavichord) e-mail
Paul Anglmayer (simulation, physical modeling, brass) e-mail
Judit Angster (sound analysis, pipes and organ studies) e-mail
Anders Askenfelt (string instruments) e-mail
Dean Ayers (brass trumpet) e-mail
Rolf
Bader (systematic music science) e-mail
Andreas Bamberger (wind instruments, flute with PIV) e-mail
Ana Barjau (wind instruments, sound impedence, physical modeling) e-mail
James Beauchamp (computer music; analysis, synthesis, and perception of musical sounds;wind acoustics; pitch detection and musical sound separation) e-mail
W. R. Bennett (multiphonic) e-mail
Matthias Bertsch (brass instruments, analysis and perception of sound) e-mail
Charles Besnainou ( perception and recognition of music, alternate materials for stringed instruments) e-mail
George Bissinger (analysis,radiation from string instruments) e-mail
Barbara Blankenship (opera, acoustic phonetics, perception, organ building.) e-mail
Davide Bonsi (ambisonics technology, sound intensity measurement, organ pipes, musical spaces) e-mail
Ingolf Bork (brass, piano, analysis of musical sounds)
Marina Bosi(signal processing with application in music, perceptual audio coding) e-mail
Xavier Boutillon (piano, bowed strings and wind instruments) e-mail
Jonas Braasch (physical modeling of organ pipes with free reeds) e-mail
Nigel Breitz (music theory from mathematical and physical perspectives) e-mail
Roberto Bresin (music performance, emotion, piano acoustics, sound control, gesture analysis, neural networks) e-mail
Andrew Brown (double bass, analysis and perception of sound) e-mail
Judith Brown (audio signal processing, machine perception of music) e-mail
Donald Murray
Michele Castellengo ( flute organ pipes and voice acoustics, sound perception analysis) e-mail
Daryl Caswell (wind and brass instruments, sound reflection, bell
plates,
sound analysis, manufacturing practices) e-mail
René Caussé (Modeling of musical instruments - Sound synthesis and Instrument making) e-mail
Antoine Chaigne (modeling and simulations of strings and percussion instruments) e-mail
Yong Choi (influence of inharmonicity on the tone of a piano) e-mail
Annabel J. Cohen (Music perception and cognition, film music) e-mail
Daniel Commins (room acoustics) e-mail
Perry R. Cook (Real-time music and voice synthesis algorithms, using physical models where possible.Controls and controllers for these models.) e-mail
James Cottingham (free reed instruments) e-mail
Lola L. Cuddy (music perception and cognition, psychoacoustics) e-mail
Sofia Dahl (hand and arm movement, timing, percussion, drumming, motion analysis, perception) e-mail
Jean-Pierre Dalmont (brass and wind, numerical and physical modeling, clarinet, trombone) e-mail
Bertrand David (musical signal processing: frequency and damping estimation, high resolution, components tracking, and indexation, acoustical efficiency, guitar, bells) e-mail
Robert
E. Davis (vibrating membranes and
plates) e-mail
Nicolas Dauchez (stringed
instruments, the bow) e-mail
Laurent Demany (psychoacoustics, music perception) e-mail
Diana Deutsch (music perception and cognition, musical illusions) e-mail (alternate webpage at http://philomel.com/)
Peter Dobbins (hurdy-gurdies and related string instruments)
Eric Ducasse (modeling principals for time-domain simulations of wind intruments) e-mail
Edward Dugger (musical instruments within architectural spaces)
Gerhard Eckel (psychoacoustics, multi-tone masking for the analysis of musical sound signals, sound synthesis language) e-mail
Dieter Ennemoser (violin maker, acoustic researcher) e-mail
Georg Essl (computer music, numeric simulations) e-mail
Benoit Fabre (wind instruments: flutes, analysis, modeling and simulation, flow visualization) e-mail
Neville Fletcher (musical instruments, physiological acoustics, nonlinear dynamics and chaos) e-mail
Anders Friberg (Music performance, interpretation, music and motion,
timing, intonation, phrasing, music software) e-mail
Leonardo Fuks (woodwinds, voice: extended
techniques,psychoacoustics) e-mail
Dermot Furlong (audio analysis/synthesis, signal processing, psychoacoustics,timbre, tuning and mathematical representations) e-mail
Alexander Galembo (piano acoustics, tone quality, segregation and interactionof tones, other topics in musical acoustics) e-mail (alternate webpage at http://www.geocities.com/CapeCanaveral/Lab/8779/)
Bram Gatjen (wind:oboe)
François Gautier
(fluid/structure
interactions, wall vibrations of wind instruments, vibro-acoustics of the
concert harp, sound directivity, sympathetic stings vibrations) e-mail
Bruno Gazengel (saxophone) e-mail
Gary Gibian (signal processing, psychoacoustics, electronic music) e-mail
Vincent
Gibiat (signal analysis, chaos,
impedence measurements, woodwinds: flute, clarinet, traditional, saxophone,
historical) e-mail
Joël Gilbert (physics of wind instruments) e-mail
Nicholas Giordano (physics of the piano) e-mail
Gerard
Girolami (audio signal processing, note identification) e-mail
Werner Goebl (artificial intelligence and music, piano) e-mail
Colin Gough (Stringed instruments: violin) e-mail
Alain Goye (hearing aids, speech intelligibility coding and enhancement, digital signal processing) e-mail
Svante Granqvist (speech,voice, laryngoscopy) e-mail
Knut Guettler (simulations and analysis of the bowed string) e-mail
Donald Hall (musical instruments, psychoacoustics) e-mail
Uwe J. Hansen (mode studies, holographic interferometry, modal analysis) e-mail
Roger J. Hanson (plucked and bowed strings, nonlinear string
properties) e-mail
J. M. Harrison (way sounds control the behavior of mammals) e-mail
William Hartmann (psychoacoustics,electronic music) e-mail
Hermann Ludwig Helmholtz (musical theory, perception of sound)
Hanspeter Herzel (voice) e-mail
Toby Hill (guitar, woodwind and brass, acoustics and psychoacoustics, bassoon, pitch perception) e-mail
Abraham Hirschberg (fluid mechanics, wind-instruments, human speech) e-mail
Peter Hoekje (woodwinds and brasses, physical acoustics, signal processing) e-mail
Brian Holmes (brass instruments) e-mail
Adrian Houtsma (psychoacoustics, musical instruments, audio coding)
Carleen M. Hutchins (violin family instruments, making and research)
James Irwin Jr. (physical modeling of percussion instruments) e-mail
Erik Jansson (acoustics of the violin, function and tonal quality) e-mail
Matti Karjalainen (signal processing, models for string instruments,psychoacoustics) e-mail
Wilfried Kausel (optimization and simulation, physical modelling of brass instruments, string admittance) e-mail
Douglas Keefe (wind instruments, signal processing) e-mail
Jonathan Kemp (acoustics, pulse, reflectometry) e-mail
RogerA. Kendall (Musical timbre, communication of musical expression, acoustics of the gamelan) e-mail
Jean Kergomard (single reed wind instruments) e-mail
Kenshi Kishi (string instrument mutes) e-mail
Mendel Kleiner (flue organ pipes, voicing techniques. transient sounds, listening tests, room acoustics, psychoacoustic physical modeling) e-mail
Malte Kob (vocal tract and folds, Green's functions, time domain model, physical modeling) e-mail
Bozena Kostek (musical acoustics, psychophysiology of hearing, studio technology, pipe organ, soft computing applications, music information retrieval) e-mail
Helmut Kuhnelt (flute) e-mail
Clif Kussmaul (signal processing, electro-acoustic music, auditory perception)
Bernhard Laback (psychoacoustics, hearing impairment, cochlear implants)
Barry Larkin (percussion instruments, performance analysis) e-mail
Bruce Lawson (wind instruments, analysis/synthesis of musical sounds) e-mail
Minkyu Lee (psychoacoustics, signal processing) e-mail
Aijun Li (impulse response with pulse reflectometry, wind instruments) e-mail
Ian Lindevald (perception in rooms, wind instruments) e-mail
Zainea Liviu (perception, acoustical
consultant diffusor, inventor of the Roundffusor1 (R1)) e-mail
Emil H. Lubej (sound analysis, ethno-musicology, internet radio) e-mail
Daniel O. Ludwigsen (musical instruments, vocal instruments) e-mail
Robert C. Maher (digital audio signal processing, digital music
synthesis) e-mail
Antonio Mancuso (piano acoustics, tuning,
psychoacoustics) e-mail
William Martens (spatial hearing, acoustical
cues used in human sound localization) e-mail
Stephen McAdams (psychoacoustics, music perception and cognition) e-mail
Juergen Meyer (general acoustics, orchestra, performing, piano)
Andreas Miklos (organ pipe) e-mail
Paul Milenkovic (acoustic analysis of speech/singing voice, acousticsof air columns) e-mail
Joan E Miller (Analysis/synthesis of string sounds, signal processing) e-mail
Joel D. Miller (spatial audio, computer music, digital audio processing) e-mail
Nicolas Misdariis (physical modeling, sound diffusion, sound perception, sound design) e-mail
Federico Miyara (acoustics, noise control, electronic and instrumental music composition, computer analysis of musical performance, psychoacoustics) e-mail
Nils-Erik Molin (optical metrology - applied to violins and other musical instruments) e-mail
Jeremy Montagu (playing technique, sound, timpani, ethnic instruments) e-mail
F.
Richard Moore (computer music,
digital signal processing) e-mail
Thomas Moore (brass instruments,
speckle pattern interferometry) e-mail
Lars Hendik Morset (violins radiation) e-mail
D. W. Mueller (timpani) e-mail
John L. Murphy (loudspeaker modeling, audio signal processing) e-mail
Arnold Myers (historic brass instruments, bore reconstruction) e-mail
Isao Nakamura (piano, sound analysis)
Cornelis Nederveen (wind instruments) e-mail
John Neuhoff (psychoacoustics, music perception) e-mail
Kengo Ohgushi (psychoacoustics, analysis of music performance) e-mail
Terence Pamplin (histrorical and stringed instruments especially baryton and those with "sympathetic" stringing)
William Pielemeier (signal processing, time-frequency analysis) e-mail
Robert Pyle (brass instruments, numerical modeling of brasses) e-mail
James Pyne (clarinet) e-mail
Andrzej Rakowski (musical perception and cognition, psychoacoustics) e-mail
Bruno H. Repp (rhythm and timing, musical expression, perception and action) e-mail
Paola
Ricciardi (room acoustics) e-mail
Orlando Richards (artificial lips: lip modeling) e-mail
Bernard Richardson (guitar acoustics, from construction to perception) e-mail
Dawn Rockliff (acoustic streaming, particle image velocimetry, non-linear acoustics, woodwinds) e-mail
Xavier Rodet (sound synthesis and analysis ) e-mail
Oliver Rodgers (string instruments, modal analysis)
Juan Roederer (psychoacoustics, organ performance) e-mail
Lucile Rossi (note and sound identification, signal processing) e-mail
Thomas Rossing (percussion instruments, modal analysis, singing) e-mail
Howard B. Rothman (acoustic analysis of the singing voice) e-mail
Daniel Russell (piano acoustics, holographic interferometry, modal analysis) e-mail
Naoki Saiwaki (psychoacoustics) e-mail
Henrik Saldner (violin, electronic holography) e-mail
Markus Sapp (sound synthesis, signal analysis and processing, DSP, psychoacoustics) e-mail
Ronan Scaife (mixed-mode physical/synthetic wind instruments) e-mail
Gary Scavone (audio signal processing, wind instrument acoustics and modeling) e-mail
Ronald C. Scherer (voice and singing) e-mail
Martin Schleske (string instrument making, modal analysis) e-mail
Matthias Scholz (physics of historical keyboard instruments, such as organs and harpsichordss) e-mail
Robert Schumacher (string instruments) e-mail
William Sethares (audio signal processing, interactions between timbre and tuning) e-mail
David Sharp (brass instruments, impedence, bore reconstruction,
pulse reflectometry) e-mail
Punita Singh (acoustical engineering) e-mail
Panayotis Skordos (CFD simulation of flue pipes) e-mail
John
Smith (wind
instruments; vocal tracts in speech, singing and playing; acoustic impedance) e-mail
Julius Smith (signal processing, efficient models for strings and winds) e-mail
Richard Smith-Watkins (brass instruments: trumpet) e-mail
Gerald Sonneck (wind instruments, analysis and perception of sound) e-mail
Domenico Stanzial (energetic analysis of sound fields, perception in rooms, sound spatialization) e-mail
Jan Stepanek (psycoacoustics, statistics, string instruments, pipe organs) e-mail
William J. Strong (analysis/synthesis, wind instruments, signal processing,physical modeling) e-mail
Anatoli Stulov (piano, physical modeling, nonlinear acoustics, dynamical processes in microstructural materials) e-mail
Johan Sundberg (singing, voice, tuning, theory of music performance, music perception) e-mail
Sten Ternstrom (choir acoustics, voice analysis and synthesis, room acoustics, audio signal processing, music perception) e-mail
Mats Tinnsten (violin optimization, wood properties) e-mail
Ingo Titze (human larynx, singing voice) e-mail or e-mail
Lamberto Tronchin (virtual reconstruction, 3D IRS measurements, B-format reproduction, physical models) e-mail
Arnold Tubis (acoustic musical instruments, folk instruments, physical probes and physical modeling of the auditory periphery) e-mail
Maarten Van Walstijn (physical modeling, reed woodwinds, impedance measurement) e-mail
Christophe Vergez (physical modeling, auto-oscillation, sound synthesis) e-mail
Oliver Vitouch (music perception and cognition, neurosciences, absolute pitch, film music) e-mail
Wolfgang Vogl (string
instruments) e-mail
Chris Waltham (harp acoustics) e-mail
Lily Wang (strings, radiation, spaciousness or listener envelopment) e-mail
Gabriel Weinreich (general musical acoustics) e-mail
Paul A. Wheeler (electronic music and sound system design) e-mail
Gregor Widholm (Brass Instruments, systems for quality evaluation, simulation, physical modelling) e-mail
Gerhard Widmer (artificial intelligence and music, piano) e-mail
Joe Wolfe (wind instruments, vocal tracts and interactions between them, cochlear implants, violins, guitars, yadaki) e-mail
Howard
Wright (psychoacoustics,
perception, timbre, tone quality, wind instruments, mouth pieces)
Raimund Wuertz (architectural and room acoustics, modular acoustics booths) e-mail
Shigeru Yoshikawa (physiology, brass, playing techniques) e-mail
Simone Zopf (violin, instrument making, modal analysis) e-mail
Tilmann Zwicker (Electric musical instruments and amplification, guitarfamily instruments, psychoacoustics, patent related matters) e-mail
(updated 12 January
2007)